Beyond the Life of Forms
The collaborative relationship between me and the machine explores and creates forms that emerge from code and parametric algorithms. This algorithm was born to create the system that discovers the chaos and order in the process of the formation of things.
After 3 crazy years with digital art, I realized that I needed to slow down a bit and go on an inner journey about what I created and improve my creation technique and art practice. What was I creating and what area of my mind were these abstract forms connecting with me? — From the beginning of 2023, I became stagnant and tried to explore and understand that area of my mind, and I continue to explore it. The first projects of this process are “synth-(l.c.r.s)” and “Memory Surfaces” on Tezos via objkt.com. “Beyond the Life of Forms” is the latest project in this process of change and a way that made me discover the freedom of this change.
The “Beyond the Life of Forms” project started as a result of discovering the systematic orders and chaos systems that the connections of our vital forms make with each other, at a point where I realized my stereotyped limits and started to understand these limits more.
The collaboration relationship between me and the machine, when I realized that I had achieved the aesthetics I was looking for in the systems that I started to create manually with parametric algorithms, the output that emerged was the point where I started the explorations.
I have created a set of systemic forms where ordered chaos and systematic orders intersect with minimalism. With different particle sizes, I discovered the depth of the layers that these systems form on top of each other. In some systems, I included colored shadows and black shadows in the system, revealing the harmony between the tones.
In this project, I got to know the old modern architectural sketches and the abstract forms included in the sketches of the future-like products thought by the designers in the past. I discovered the point of change in the lives of many architects, and I touched on how the products they created after this point of change had a wild, chaotic and social effect on their positions.
When I first saw this floating-level exhibition hall drawn by Conrad Roland, I imagined myself there as if I had taken the place of one of the people in the drawing. This is truly an excellent work of art produced by modern architecture. The important point for me in this drawing is that it is thought of as a single whole with interconnected layers and connections, and when you enter this exhibition hall, it creates the feeling of being everywhere at one point.
One of the works of art that the French architect Le Corbusier, whom I was inspired by, contributed to modern architecture, is the Chapel of Notre Dame du Haut, which has an extraordinarily different form, which he built in France in 1954.
In the image, where the black and white palette come together and create chaos, the form that emerges as a result of the movement of 9 squares at different points to each other through parametric algorithms represents the conflicts of all the situations that exist in our life at a moment. I discovered a depth that evokes positive, negative or neutral feelings as a result of this sudden static change.
It allows it to create chaos using an almost rule-based task at the output of a classification set of complex geometric shapes and vibrant grainy textures. #23, as a form against this disorder, gets in the way of our visual senses and perceptions. Even though this grid form is perceived as planar, it appears to shrink or grow towards its center. A form that we will get lost in the details.
The ultimate box is the one we all end up.- De Graaf
#01 is a part of the algorithm that rejects the irregular and symmetry rules of the system form. Although it does not seem to make you feel the presence of chaos with its vivid color palette and dimensionality, after a while, it begins to make the viewer discover the existence of chaos as they enter into the irregularity formed in the layers.
Unlike traditional architects, Superstudio placed great emphasis on ideas that could never be realized, in order to initiate discussion and think in the midst of a calm status quo. The forms that emerged in the “Beyond the Life of Forms” collection aim to make the viewer think about the feeling of chaos that is getting more and more irregular after a while and to discover this in abstract art.
In the process of discovering this form in the pieces, I continued to develop it and play with the algorithm as long as there were new ways and new feelings, and I stopped when I felt that I had discovered the form. Parametric algorithms and coding act as a balanced bridge between the decisions I make consciously and the forms waiting to be discovered in the depths of my mind.
“In architecture, critical activity has always been connected with the concept of utopia; utopia is not an alternative model: it puts forward unresolved problems (not ‘problem solving’ but ‘problem finding’). We could say that the original motive of utopia is hope. Utopia is the true preparation for projecting, as play is preparation of life. The revolutionary charge of utopia, the hope which is at its foundation and the criticism which is its direct consequence, bring back its dignity as a rational, ordering activity.” — SUPERSTUDIO’s The Continuous Monument: An Architectural Model for Total Urbanization (1969)
The “Beyond the Life of Forms” project includes 34, 1/1 generative pieces curated by me out of 300 outputs. The curation and design period was quite a long time for me, I have been spending time with this project for about 3 months. During the algorithm design, as I mentioned above, when there was no important addition to be made, I stopped and obtained hundreds of outputs. This was a challenging process because it took a long time to reduce hundreds of outputs to just 34 prints. Each piece has been processed with high quality and is 9221 x 9221 px.
Collectors will bid on the token included in the collection to purchase a random edition of Beyond the Life of Forms. on July 12, the bid of the wallet with the highest 33 bids will be accepted and editions will be distributed to wallets with the algorithm I have coded in Python.
also, for the owners of the editions in this collection, you can claim the prints of the pieces with different sizing and paper options via @artforaofficial
